Christian Blas

Alright I get it. So can I blow-up anamorphic 16mm to (regular) 35mm? What will happen when transferred or blown-up?

I am thinking about shooting a feature-film in 16mm, but don't know what the cost is to blow-it-up to 35mm, bringing to my question...what is the cost to blow-up anamorphic 16mm to 35mm (possibly 35mm being anamorphic too). Quick question about this...if I do shoot 16mm anamorphic, will the feature appear anamorphic when blown-up to 35mm, making the movie Super 35mm? Next question...can you blow-up 16mm to Super 35mm or is 35mm the limit? "Dire answer in need to a dire question"-?

I am still confused about dubbing film with MOS cameras (Bolex, K-3, Filmo, etc.). I am wondering if I could just put a blimp (with sound-proof glass or fabric) and start filming and recording separately. Would this work or is there an alternative. Many movies were made with MOS cameras and there was a task that was done to remove/mask the camera sound and dub voices/sounds to it later. The movies are: Bad Taste (Bolex) 1980s El Marachi (Arriflex 16 M/16 S) 1990s How was it done?

Alright, I get the point. So I decided NOT to use a K-3 for their is no sync motor available at this time, but there is talk of a Revolution motor that will be fitted into the K-3 giving the ability of sync-use for it, but until now...I hold another option for a camera which is a Filmo 70-HR or any Filmo model. I know as you told me it is cannot be used for sync-use, but it can when attached with a Revolution motor which I plan to use with the Filmo. Since the Filmo can be used for sync-use, how can you dub sync-use cameras? What are the steps into the dubbing sync-sound movies and what equipment do you need to do this without digital equipment? (computers, mp3s, etc...)

Which Filmo 70 is a good choice to use to make a feature-film? What is the information on that type of Filmo 70?

What is the Eyemo and Filmo's frames per second (fps) and I also want to know how durable are they. Can they really withstand anything?

How did you make the K-3 silent and record audio to it? What are the steps into doing this process? How much did you spend? And by any chance is this a long and hard process? I need to know...my movie feature depends on it.

Is the Filmo 16mm any good also? Is it better than Eyemo?

Is Eyemo any good? I am thinking about using it in a feature film but I need to know if it is worthy to get. All I know it can used sync (with a Revolution motor) and it uses internal 100ft of film. So is this camera any good?

I am thinking about the different types of model Arriflex like the Arriflex 16S, 16ST, 16M. I thinking about the difference between these models and which model is better. So which one is good in each field? -Voice/Sound Overs (Good for dubbing) -Affordable (Cheap)? -Easily Assesible (Not difficult to use)? -Weight (Which is lighter)? -Durability? -Able to be hand-held? -Able to be held by a tripod? -Sync-use?

I am currently thinking about making a feature-film with a Krasnogorsk-3 (K-3) which is what I can afford for now, but because of the loud noise caused by the camera, I thought about dubbing the film after it is finished (filmed). The problem with this is that I have no idea of how to get rid of the loud noise (caused by the camera) and replace with voices and sounds that is created separately and also, I need to know how to syncronize with the picture and movements...the old way, not digitally (mp3s, computers, etc...) like as if in the 70s and 80s era. I'm confused...how am I supposed to dub my movies without digital equipment (mp3s, computers, etc...) but with other non-digital equipment like from the past in such low cost. Is there no hope for non-sync cameras except crystal-sync motors and blimps? Isnt there another way to dub non-sync cameras...this is urgent according to my budget which is about $100,000. Is there somehow a way to shoot a feature witrh a non-sync camera silently?

I am currently thinking about making a feature-film with a Krasnogorsk-3 (K-3) which is what I can afford for now, but because of the loud noise caused by the camera, I thought about dubbing the film after it is finished (filmed). The problem with this is that I have no idea of how to get rid of the loud noise (caused by the camera) and replace with voices and sounds that is created separately and also, I need to know how to syncronize with the picture and movements...the old way, not digitally (mp3s, computers, etc...) like as if in the 70s and 80s era. I began to do some thinking about dubbing non-sync cameras and budget costs this is going to take me. I wondered about how to dub and this is all I got (I must tell you I'm a beginner at this and please tell me if this is possible or not likely able to do.) Equipment: -Tape Recorder -Microphone -VCR -Transfers of film to VHS (post-production) -A quiet/silent room Instructions: -First you send the film to be transferred to VHS for post-production -Next you put the VHS in a VCR (in which the VCR has to be in a quiet/silent room) -After that, you plug in the microphone to the tape recorder and plug the recorder to the VCR and you start to leave it alone so it can collect the silence and replace the camera/unwanted noise. -After that rewind and dub over it again with voices and sound effects. -When finished take out the VHS and send it to be transfered to be blown up to 35mm. Does this sound reasonable or is there another solution for dubbing over non-sync cameras like in "El Marachi"?

I am currently thinking about making a feature-film with a Krasnogorsk-3 (K-3) which is what I can afford for now, but because of the loud noise caused by the camera, I thought about dubbing the film after it is finished (filmed). The problem with this is that I have no idea of how to get rid of the loud noise (caused by the camera) and replace with voices and sounds that is created separately and also, I need to know how to syncronize with the picture and movements...the old way, not digitally (mp3s, computers, etc...) like as if in the 70s and 80s era. P.S. This is urgent.